Neither Kid A, nor the band that made it need any special introduction. Everyone knows about Radiohead, one of (if not THE) biggest rock bands of the 21st century. All music enthusiasts, but laymen listeners as well, should also be aware of the importance of Kid A and the impact it had on music: the way we look at pop and rock norms, the way music is marketed and distributed, and the way in which it is made and produced. Writing a review for one of the most influential, game-changing albums in the history of rock music is no easy task, as it is easy to overlook subtle, but nonetheless important details and nuances that make up this monumental release.
Kid A was released in October of 2000 on Parlophone Records label. It is Radiohead's 4th album, following critically acclaimed Ok Computer, and preceding Amnesiac – an album that despite its success many critics considered to be lacking in substance. It is arguably Radiohead's most important release, as it marked the shift from standard guitar-driven rock music to a more experimental approach involving the introduction of various electronic elements and a wide range of synthesizers. Although the band began their foray into electronic-influenced music on their previous album, this transformation really took shape with the release of Kid A.
Despite its winning a Grammy for the best alternative album and making its appearance on a countless number of greatest-of-all-time lists, including the one written by Time magazine, Kid A received some mixed reviews upon its initial release. The album was so drastically different from anything Radiohead released up until then that it took both the listeners and the critics by surprise. A lot of them didn't take kindly to the lack of the band's recognizable guitar sound and found Thom York's muffled, hardly discernible vocals to be self-indulgent and pretentious. Ultimately, however, we can say that these naysayers were in the wrong, as Kid A proved to be one of best albums of the 21st century, both critically and commercially. Now that we have covered album's history, its accomplishments and reception, it is time to talk about the music itself.
With Kid A, Radiohead decided to marry the melancholic songwriting that they were well known for with a whole range of other styles, diversifying their music and making the album sound a lot more experimental when compared to their previous work. The decision to break away from the traditional alternative rock patterns that characterized their previous albums came largely from the band's, and especially Thom York's, disillusionment with the current state of rock music. Prior to the recording of Kid A, the singer was almost exclusively listening to electronic music, the influence of which being clearly visible throughout the album. The band also notes the influence of krautrock, as well as classic jazz on the recording process of the album (Eccleston). The influence of krautrock is exemplified by the generally repetitive nature of the tracks, and jazz sensibilities become very obvious on songs like The National Anthem, where the groovy drum and bass rhythm soon becomes juxtaposed with a cacophony of dissonant brass sounds. Although York stated that Kid A is not a concept album, it definitely feels like one. The tracks flow effortlessly into one another, starting with the opening one – Everything in its Right Place – where Thom York's trademark falsetto is joined by robotic, reversed voice that somehow manages to be both haunting and catchy at the same time, and ending with Motion Picture Soundtrack – a perfect closing track that lulls the listener in with its ethereal, warm synthesizers that accompany York's melancholic singing.
During this review, I mostly focused on the experimental, envelope-pushing side of Kid A. However, its real ingenuity and value lie in its appeal to the broader audience. Millions of sold copies are a testament to this. Radiohead showed us that pop music doesn't need to follow strict norms and patterns in order to be successful. It is safe to say that Kid A is a timeless masterpiece that managed to successfully fuse experimental and popular elements of music, which is no easy task. Fifteen years later, it still manages to be relevant, as it continues to inspire countless artists and fill the souls of millions worldwide.
References
Eccleston, Danny. "Radiohead Press Cuttings - Q Magazine - October 2000 - By Danny Eccleston." Http://www.followmearound.com. Q Magazine, Oct.-Nov. 2000. Web. 12 Feb. 2016.
